The aims of the ICTM are to
further the study, practice, documentation, preservation and dissemination of
traditional music, including folk, popular, classical and urban music, and
dance, of all countries.To these
ends, the Council organizes meetings, world conferences, study groups and
colloquia.In addition, the
Council maintains a membership directory and supervises the preparation and
publication of journals and bulletins.

The ICTM Study
Group on Performing Arts of Southeast Asia:MISSION STATEMENT

The ICTM Study Group on Performing
Arts of Southeast Asia is dedicated to the study and research of music, dance
and theater as found throughout Southeast Asia, including Southeast Asian
performing arts that are found elsewhere in the world.The Study Group intends to provide a forum
for the exchange of ideas, new approaches and current research among
established as well as young ICTM scholars.The Study Group will strive to increase communication and
interaction among scholars working in Southeast Asian performing arts, and to promote
future research initiatives in areas of Southeast Asia where there has been
little or no research.

PROGRAM

THURSDAY — 10 June 2010

9:00 – 10:30 AMREGISTRATION

10:30 – 11:00 AMOPENING REMARKS & TEA

11:00 AM – 12:30 Noon

SESSION 1Themes:
HYBRIDITY/NEW RESEARCH

Room:

Chair:Gisa Jaehnichen

1) David
HARNISH, Bowling Green
State University (USA)

Hybridity in Balinese Music: The Agency and Performance Style of Guitarist I
Wayan Balawan.

Teaching and Learning of Gamelan
Music Through Multiple Intelligences.

5:15 – 6:30 PMVIDEO

The
River of Exchange: Music of Agusan Manobo and Visayan Relations in Mindanao. Directed and Produced by Jose S. Buenconsejo (UP
College of Music, Diliman, Quezon City, The Philippines).

This
video was made as a multimedia accompaniment to Jose Buenconsejo’s book Songs and Gifts at the Frontier: Person and
Exchange in the Agusan Manobo Possession Ritual (Routledge, 2002).

This
is a story of the encounter and consequent cultural exchanges between inland,
aboriginal Manobos and coastal, Visayan settlers in
an "out-of-the-way" place in Agusan Valley, Caraga, Mindanao
Island, Philippines. It explores, in particular, the varied embodiments of this
social history in traditional Manobo song and ritual and in performances of
recent, Visayan-brought electronically-amplified sounds.

DINNER in
the City andPerformances at the Singapore
Arts Festival (on your own)

From the Kulintangan to the
Synthesizer: Sama Traditional and Contemporary Music in the Southern Philippines and Malaysia Timor.

3) Felicidad A. Prudente
University of The Philippines (The Philippines)

Asserting Cordillera Identity Among the Indigenous
Peoples of Northern Philippines.

12:30 – 1:30LUNCHand
DEMONSTRATIONS/PERFORMANCES (to be announced)

1:30 – 3:30 PM

SESSION 10Panel: Issues in Archives and Archiving

The panel “Issues in Archives
and Archiving” provokes and shows light on disconnections between the concept
of copyright and it’s related concepts of performance rights and royalties
especially in the cultural environments of Southeast Asia (and other parts of
the world) where it is not clear who owns cultural material such as dance,
music and theatre.

Cultural
Studies and Music/Dance Analysis: On the Utility and Futility of Postmodern
Approaches to Southeast Asian Performing Arts

In
recent decades, cultural studies increasingly have informed musicological and
dance investigation, which has resulted in a substantial body of literature.
Yet, an often-heard criticism voices many researchers' concern that by studying
music from the perspective of cultural studies, such investigations often lose
their focus on the actual objects of study – music and dance. In this
roundtable we seek to address the general question of the fruitfulness of
cultural studies’ approaches to our understanding of Southeast Asian music and
dance and the benefits (or lack thereof) of transdisciplinary approaches to
this region’s performing arts. How can we, as music and dance researchers,
integrate cultural studies-related approaches into our analyses without
neglecting the music and dance themselves? Also, how do we ensure that our
consideration of these aspects of music and dance performance goes beyond
merely adding fashionable jargon to musicological analysis, resulting in new
wine in old skins?

By
considering both case studies and general appraisals, we would like to identify
the strengths and weaknesses of such 'cultural musicology' (a term Gilbert
Chase coined as early as 1975). Statements about and contributions to the
discussion are welcome.